Sunday, April 23, 2017

NatsBest Shortlist 2017: Lizok’s Better-Late-Than-Never Edition

The National Bestseller Award announced a seven-book shortlist on April 14—oh, the shame that I’m this late! This is a wonderful and rare case where I’m interested in nearly all the books on a shortlist. Here’s the list, including the number of points awarded by the “big” jury, plus links to jury members’ reviews, which are easier to find than ever on the new NatsBest site. They are a fantastic resource. NatsBest secretary Vadim Levental’s comments about the list are here. The winner will be announced on June 3.

  • Anna Kozlova’s F20 (10 points) is apparently a novel about a teenage girl with mental illness. Jury reviews are here.
  • Elena Dolgopyat’s Родина (Motherland) (9 points) is a collection of short stories by an author whose work I’ve enjoyed reading in the past. I haven’t read this collection yet—I don’t even own it—but have to admit that I’m already rooting for Dolgopyat because her past work has impressed me so much. Jury reviews are here.
  • Andrei Filimonov’s Головастик и святые (known in English as Manikin and the Saints) (7 points) is represented by the Elkost literary agency so I’ll leave the description to them; it’s here. Jury reviews are here.
  • Figl’-Migl’s Эта страна (This Country) (6 points) is a book I want to know nothing about: it’s enough for me to know that it concerns political prisoners from the early Soviet period. I’ve been waiting for it and F-M, whom I still haven’t read, won the NatsBest a few years ago. Despite mixed reviews—running the full gamut, something that I often take as a positive since it generally means the book gets under the reader’s skin—since the NatsBest longlist came out, I’m still very interested. Jury reviews are here.
  • Aleksandr Brener’s Жития убиенных художников (Life Stories [as in lives, in the context of “lives of saints”] of Killed Artists) (6 points) is, according to the publisher, Hylaea, a book composed of brief stories/chapters about Brener’s experiences in various places around the world, looking at people, meetings, attachments, impressions… Jury reviews are here.
  • Sergei Beliakov’s Тень Мазепы (Mazepa’s Shadow) (6 points) is nonfiction about Ukrainian history during the Gogol epoch. Jury reviews are here.
  • Andrei Rubanov’s Патриот (The Patriot) (6 points) sounds, based on the BGS literary agency’s description (here), like a very Rubanovian Rubanov novel. Rubanov’s very good at showing contemporary Russian life. Jury reviews are here.

Disclaimers: The usual plus I translated NatsBest secretary Vadim Levental’s novel Masha Regina.

Up Next: Big Book longlist post, also late! And then, hmm, the Afanasy Mamedov novella set in Baku that I mentioned in my last post. And some reading in English, including Charlotte Hobson’s The Vanishing Futurist, which is perfect reading for (and about since it’s set in Moscow around the time of the revolution) a hectic time; it pairs nicely with James Womack’s translations of Vladimir Mayakovsky in a book entitled “Vladimir Mayakovsky” & Other Poems, which arrived last week. I’ll be reading other translations to prepare for a roundtable during Russian Literature Week in early May, hosted by Read Russia in New York.

Sunday, April 2, 2017

Favorite Russian Writers from A to Я: Х Marks the Spot

It’s been years, literally years, since I’ve written an alphabet post: I left off with the titanic letter T in July 2014. And then I struggled with the letter У/U, just as I had struggled with O earlier, because I simply didn’t have enough favorite authors to compile a post. I decided to skip a few letters after one of you asked me last week when there would be another alphabet post: since I’d already skipped O (and something else, too, I think…), I decided not to bother with У/U or Ф/F, either, at least for the time being. Hence we’ve arrived at Х, the letter often represented in English as Kh.

And what a productive letter Х/Kh is! My first Kh author to mention is Mikhail Kheraskov, an eighteenth-century writer I studied in grad school. It wasn’t Kheraskov’s Rossiad—a classic epic poem that was/is evidently in school curricula—that drew me, though, but his plays, which Wikipedia rightfully says have been “neglected by posterity.” Kheraskov’s Гонимыя (in the old orthography; I called it The Persecuted in English) was not only the reason I learned how to use a microfiche machine: it was also a good lesson about the literary transition from sentimentalism to classicism. And literary influences. Kheraskov contributed to my love of sentimentalism—The Persecuted’s title pages call it a “teary drama”—and it was his work that got me interested in analyzing literary genres. That’s more than enough to make him a favorite.

One of my favorite contemporary authors, Margarita Khemlin, who died a very young death in autumn 2015, is the first writer whose work I loved so much I had to translate it. I’ve enjoyed her long and short stories, and her novels, too, and am very happy I’ll be starting work on her Klotsvog (previous post), for the Russian Library at Columbia University Press, in June. I’ve always admired Margarita’s ability to write about the damage of World War 2 and Jewish heritage with humor, grit, and grace. And I can’t wait to create an English-language voice for Maya, the narrator (and title character) of Klotsvog, my favorite of Margarita’s novels. (Favorite that I’ve read at this writing, anyway: a new one was recently published posthumously.) I missed her terribly when I was in Moscow last fall and think about her constantly: her trust in me years ago means a lot to me as a person and as a translator. And I always loved her sense of humor as a person. (Her husband and sister both took to calling me Becky Thatcher, too.) Melanie Moore translated The Investigator (Дознаватель), which earned excellent reviews and was published by Glagoslav.

Khlebnikov's grave, Moscow, November 2012, my fuzzy photo
And then there are three that I always enjoy reading but don’t have such personal feelings for… There’s the wonderful Daniil Kharms, whom I took a liking to in the early 2000s after reading Старуха (The Old Woman): Kharms is always good for some absurdity: I bought a compact 1991 edition with prose, poetry, drama, letters, and art when I lived in Moscow and enjoy picking it up every now and then for a little weirdness. Kharms has grown on me over the years, like a cucumber. There’s lots of Kharms available in translation, including Matvei Yankelevich’s Today I Wrote Nothing, from Overlook Press (2009), and Alex Cigale’s Russian Absurd, from Northwestern University Press (2017). That “three” includes two poets: Vladimir Khodasevich and Velimir Khlebnikov, neither of whom I have read methodically or even broadly but both of whom I love reading when references or mentions pop up. I’ve always had a thing for futurism so enjoy Khlebnikov for that. And, of course, for his “Incantation by Laughter,” which is mentioned in this fun post (and my comments) about Khlebnikov on Wuthering Expectations. I’ve read less of Khodasevich but he keeps turning up, both at translator conferences (represented by his translators, of course!) and in quotations in fiction. Since I’m utterly inept at writing about poetry, I’ll leave this one to Wuthering Expectations, too, since there’s this post about Selected Poems, which contains Peter Daniels’s beautiful translations. Here’s a sample of Peter’s work, from theguardian.com’s “Poem of the Week” feature. Peter’s collection, by the way, was published by Angel Classics in the UK and Overlook in the US.

Х is an unusual letter for me because nearly all the Kh authors on my shelf are favorites. The only writer left unread is Boris Khazanov: I have a collection that a friend borrowed and enjoyed very much.

Up Next: An Afanasy Mamedov novella set in Baku. Kir Bulychev’s Поселок (known in English as Those Who Survive): I read very little science fiction (I’ve failed on nearly every attempt at reading the Strugatsky Brothers) but enjoy it when I find something that suits my taste. This Bulychev book feels like a perfect fit for a very frenetic time. I’ll also be doing some preparatory reading before participating in Russian Literature Week events in early May. And I’m still plugging away with Crime and Punishment, though may switch to Oliver Ready’s translation of the novel, which I enjoy reading much more than Dostoevsky’s original, which I’ve been rereading as a remedial measure and as a prelude to reading Robert Belknap’s Plots, which discusses C&P as well as King Lear

Disclaimers: The usual, including knowing the translators mentioned in this post.